ASU Electronic Theses and Dissertations
This collection includes most of the ASU Theses and Dissertations from 2011 to present. ASU Theses and Dissertations are available in downloadable PDF format; however, a small percentage of items are under embargo. Information about the dissertations/theses includes degree information, committee members, an abstract, supporting data or media.
In addition to the electronic theses found in the ASU Digital Repository, ASU Theses and Dissertations can be found in the ASU Library Catalog.
Dissertations and Theses granted by Arizona State University are archived and made available through a joint effort of the ASU Graduate College and the ASU Libraries. For more information or questions about this collection contact or visit the Digital Repository ETD Library Guide or contact the ASU Graduate College at gradformat@asu.edu.
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Description
During my career as an oboist, I have only played the oboe d’amore one time before this project. I have always wondered why such a beautiful instrument is scarcely
played today, and decided it was time to commission new works that aim to bring back
the instrument’s popularity. Tim Carlos composed Fernweh: Sonata for Oboe d’amore
and Piano and Two Sketches for Oboe d’amore, Guitar, and Percussion. This document
covers the collaborative method Carlos and I experienced, the history of the oboe
d’amore, edits made to the compositions, and most importantly a performer’s guide to
these two new works (discussing both technical and musical challenges.) The recordings
are also included. To purchase either work in its entirety, contact
timcarloscomposer@gmail.com.
ContributorsDinger, Maja Malina (Author) / Schuring, Martin (Thesis advisor) / Caslor, Jason (Committee member) / Wells, Christi Jay (Committee member) / Arizona State University (Publisher)
Created2022
Description
Argentine composer Astor Piazzolla started to receive greater recognition throughout the world after his death in 1992, leading to the growing popularity of his compositions. An excellent example of this is Las Cuatro Estaciones Porteñas composed by Piazzolla for his tango ensemble in the late 1960s and later arranged by Russian violinist Leonid Desyatnikov for violin soloist with string orchestra. As this arrangement has grown in popularity, it has become among the many extraordinary pieces that talented violinists play for recitals, concerto competitions and even final jury exams in many musical institutions. However, as of now, many musicians have faced a challenge because there is no published piano reduction for them to use. This project aims to create an orchestral reduction of the string orchestra parts that can benefit both collaborative pianists and violinists. This reduction will create timbres and textures similar to the original orchestration in an arrangement that is idiomatic for the instrument, and worthwhile to rehearse and perform as a collaborative pianist. While the appendix features the new reduction in its entirety, this paper aims at discussing and explaining the most important editing choices in different aspects when arranging the reduction, rather than examining each choice measure by measure throughout the composition. In this way, the technique demonstrated in this document can be employed in other reductions, and will hopefully provide inspiration for collaborative pianists to create new reductions for other works.
ContributorsChen, Po Hsun (Neilson) (Author) / Campbell, Andrew (Thesis advisor) / Ryan, Russell (Committee member) / Wells, Christi Jay (Committee member) / Arizona State University (Publisher)
Created2021
Description
This paper highlights a method for jazz transcription, comprehension, and practice to be implemented primarily in applied saxophone instruction with undergraduate students. The purpose is the identify and mend the divide between jazz and classical that appears in academia. This divide is one that came about by necessity in the saxophone’s relative youth in the academic world as it found solid footing in conservatories around the world. A literature review establishes the current state of dialogue between both jazz and classical in the academic saxophone community, including the current state of crossover scholarship that discusses the interaction between multiple genres. This review investigates what serves as pedagogical material in an aural discipline like jazz. A thorough approach to transcription is crucial change to the standard practice of jazz transcription typically employed in applied saxophone studios. This approach takes the focus away from the product and places it on the process. This process is demonstrated through a transcription and deconstruction of Charlie Parker’s “Cheryl.” Though this approach is presented through the perspective of a saxophonist, this process can be applied to any number of instrumental disciplines seeking to understand jazz transcription and improvisation more fully.
ContributorsFeher, Patrick Francis (Author) / Creviston, Christopher (Thesis advisor) / Kocour, Michael (Committee member) / Libman, Jeffrey (Committee member) / Caslor, Jason (Committee member) / Wells, Christi Jay (Committee member) / Arizona State University (Publisher)
Created2022
Description
For this project, I commissioned and recorded five new works for contrabassclarinet from five different composers. Composition parameters were given to each
composer before they started writing which detailed what needed to be included in each
work. Four of the composers were asked to utilize a single, difficult aspect of playing the
instrument, which included intonation, low note technique and response, phrasing, and
articulation. For the fifth work, the composer was asked to incorporate all parameters of
the project. Because of the differences between contrabass clarinet designs, I recorded
each work three times using the Leblanc Vito, Leblanc “Paperclip”, and Selmer Model 41
contrabass clarinets to demonstrate that the works were adaptable and playable. In this
paper, I will outline the parameters of the project, describe the instruments used for
recording and provide a performance guide for each work. It is my hope that these works
will provide an enjoyable way for future contrabass clarinetists to become more
proficient performers of the instrument.
ContributorsFullerton, Kimberly Irene (Author) / Spring, Robert (Thesis advisor) / Gardner, Joshua (Thesis advisor) / Micklich, Albie (Committee member) / Wells, Christi Jay (Committee member) / Watts, Sarah (Committee member) / Arizona State University (Publisher)
Created2023
Description
This research aims to identify ways in which student live-in Musician-in-Residence programs help meet the social needs of older adults through university partnerships. Independent Living retirement communities face a gap in music programming. Student live-in Musician-in-Residence programs like the one at Mirabella at Arizona State University (Mirabella at ASU) were used to help determine how music impacted the quality of life of retirees and how it affected their relationships with a younger generation. Only residents in Independent Living were included in the study. Prior research has shown that when an older adult relocates to senior living, it can be viewed stereotypically as a sign that they are diminishing their capacity to live independently and are preparing to live the rest of their lives detached from society. Additionally, research shows that some retirement communities are unaware of how music programs can encourage the fostering of meaningful relationships for independent retired adults. As adults are retiring earlier, they are living healthier lives and require quality programming that reflects their active lifestyle. In this research, the questions asked provided qualitative responses and residents shared anecdotal reports of their experiences. Questions were divided into two categories, 1). Residential history and prior music experience, 2). Sense of belonging and retention. The results of this study suggest that intergenerational music programs contribute to maintaining older adults' social and emotional health by providing opportunities to engage in music through observation and participation. They also show that music programs serve as conduits for fostering relationships between seemingly disparate groups, in this case, the older and younger populations.
ContributorsCox, Tychiko Dustin (Author) / Swoboda, Deanna (Thesis advisor) / Hawkins, Gordon (Thesis advisor) / Wells, Christi Jay (Committee member) / Arizona State University (Publisher)
Created2023
Description
As a collaborative pianist, learning and performing works that were not originally composed for the piano is standard practice. Wynton Marsalis’ The Ever Fonky Lowdown, premiered in 2018 and digitally released in 2020, is a monumental work for narrator, three singers and jazz big band. The purpose of this research is to create a vocal score so that the work can be rehearsed and potentially performed by a pianist without the full jazz band. This paper and subsequent vocal score should serve as important resources for collaborative pianists and singers, and will help to enhance their knowledge and understanding in preparing this work. This research project is divided into three large sections. The first section starts with a brief commentary on the relationship between The Ever Fonky Lowdown and Marsalis’ earlier work From the Plantation to the Penitentiary, as both works explore similar themes and ideas. This is followed by an analysis of the lyrics and description of each musical number, as well as a discussion of the narration by Mr. Game. The Ever Fonky Lowdown comments on societal issues of the past, present and potentially future, such as freedom, race, greed, consumerism and cultural decay. Wynton Marsalis wrote the narration, lyrics and music, and often masks these societal problems with sarcasm and satire. Presenting a description of the narration, lyrics and music will not only promote future research on this important work, but also will aid the rehearsal and performance process for both collaborative pianists and singers. The second portion of this paper describes some of the reduction techniques used in creating the vocal score. While portions of the reduction process were relatively straightforward, others were more complex. The focus of the second half of the paper is to present the more noteworthy reduction techniques in order for collaborative pianists to understand how the composition was reduced, and perhaps apply similar techniques to their own future projects. The final portion of this research is the complete vocal score for The Ever Fonky Lowdown.
ContributorsTehse, Jared Robert (Author) / Campbell, Andrew (Thesis advisor) / Ryan, Russell (Committee member) / Wells, Christi Jay (Committee member) / Arizona State University (Publisher)
Created2022
Description
In the early part of 2020, musicians faced an unprecedented challenge. A novel coronavirus emerged, spreading throughout the world and creating a pandemic. To control the spread of this virus, local governing officials suspended large gatherings in public spaces, which meant that all live music performances were cancelled for the foreseeable future. As a response to these cancellations, many musicians turned to live streaming, sharing transmissions of live performances over the internet. However, as life under COVID-19-related restrictions continued, the internet quickly became oversaturated with live stream music performances. This led musicians to discover innovative ways to adapt their creative practices for virtual settings. Through the process of commissioning, premiering, and recording new works, this research project explores how music practitioners can create music that is designed specifically for the imposed restrictions on the performing arts that accompanied the COVID-19 pandemic. To complete this project, I commissioned new works for clarinet and bass clarinet intended for performance under shelter-in-place conditions. The pieces included in this project are Two Flights for B-Flat Clarinet by Bill Clay (2020), 8 Months by Jessi Harvey (2020), R....v...rs....m oooiiiiii by Gabo Champagne (2021) and Od-ieu by Kim Farris-Manning (2021). I presented these works in two virtual formats: (1) I staged a virtual concert of their premieres from my home studio space, and (2) released studio-quality recordings of them paired with extra-musical video footage. This document offers an account of the virtual concert, a description of the process of the video production component, and performance guides for each commissioned piece. An audio/video recording of the virtual concert is included as a supplemental media file to this document, as are all music videos.
ContributorsLougheed, Julia Lynn (Author) / Spring, Robert (Thesis advisor) / Gardner, Joshua (Thesis advisor) / Knowles, Kristina (Committee member) / Wells, Christi Jay (Committee member) / Caslor, Jason (Committee member) / Arizona State University (Publisher)
Created2021